本文選題：卡特　切入點(diǎn)：音高材料　出處：《山東藝術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：埃利奧特·卡特(Elliott Carter,1908.12.11—2012.11.5)是美國當(dāng)代著名作曲家,他的音樂風(fēng)格以復(fù)雜性著稱。他是一位大器晚成者,40歲以后才在國際舞臺(tái)嶄露頭角,并堅(jiān)持自己的創(chuàng)作風(fēng)格長達(dá)半個(gè)多世紀(jì)。他將艾夫斯的創(chuàng)新精神同布朗熱所傳授的新古典主義音樂相結(jié)合,采用歐洲傳統(tǒng)音樂形式,創(chuàng)造出一種高度控制的、主觀杜撰的音樂語言,來表達(dá)他對(duì)社會(huì)和時(shí)代的認(rèn)識(shí)。他的音樂創(chuàng)作在一定程度上反映了西方現(xiàn)代社會(huì)的時(shí)代特點(diǎn)和人們的精神狀態(tài)。在卡特大量的作品中,弦樂四重奏占據(jù)著十分重要的地位,他一生共創(chuàng)作了五首弦樂四重奏,時(shí)間跨度近半個(gè)世紀(jì)。本文將分析的是卡特在1951年所創(chuàng)作的《第一弦樂四重奏》,這部作品是卡特在作曲技法上的早期探索實(shí)踐。從這部作品開始,卡特式的素材如節(jié)拍轉(zhuǎn)換、復(fù)合節(jié)奏、復(fù)合結(jié)構(gòu)等,已經(jīng)開始大量的運(yùn)用,并不斷的復(fù)雜化。本文主要由四個(gè)章節(jié)組成,第一章主要從歷史的角度入手,在橫向上對(duì)卡特的創(chuàng)作生涯進(jìn)行簡要梳理,從而在更大范圍內(nèi)理順作曲家的創(chuàng)作歷程。第二、三、四章是本文的重點(diǎn)與核心,主要是對(duì)音樂本體進(jìn)行較為詳盡的研究,包括對(duì)作品的音高材料、節(jié)拍變換方式、織體結(jié)構(gòu)以及曲式結(jié)構(gòu)的分析。通過從宏觀與微觀上分別對(duì)樂曲進(jìn)行觀照,從而熟悉各個(gè)音樂元素在作品中的應(yīng)用情況與樂曲的創(chuàng)作特色。
[Abstract]:Elliott Cartern (1908.12.11-2012.5) is a famous contemporary American composer whose musical style is known for its complexity. He was a late bloomer who made his mark on the international stage only after he was 40 years old. He combined Ives' innovative spirit with Neo-classical music taught by Bronge, and adopted the traditional European music form to create a highly controlled one. Subjective musical language to express his understanding of the society and the times. To a certain extent, his music creation reflects the characteristics of modern western society and the spiritual state of people. String quartet played a very important role. He wrote five string quartets in his life. This article will analyze Carter's first string Quartet, written in 1951, which is an early exploration of Carter's composition techniques. Compound rhythm, compound structure, and so on, have begun to be used in a large number, and become more and more complicated. This paper is mainly composed of four chapters. The first chapter mainly starts from the historical point of view and summarizes Carter's creative career horizontally. The second, third, and fourth chapters are the focus and core of this paper, which mainly focus on the detailed study of the music ontology, including the pitch materials of the works and the way of changing the beat. By analyzing the texture structure and the musical form structure, we can get familiar with the application of each musical element in the works and the characteristics of the composition by observing the music separately from the macro and micro aspects.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J614

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